The Phantom of the Opera (1925)

September 7, 1925

THE SCREEN

By MORDAUNT HALL.

Published: September 7, 1925

Up to the present the motion picture producer cannot be accused of hiding his light under a bushel at the opening exhibition of one of his pet pictures. He prefers to spread the news by blinding are lights, and when the surging, clamoring, curious crowd swarms into the theatre lobby a flashlight is taken of the event so that photographs of the occasion can be dispatched to the four corners of the earth. It was the usual, unrestrained scene last night at the Astor Theatre, where the Universal Pictures Corporation's latest screen effort, "The Phantom of the Opera," was presented.

"The Phantom of the Opera" is an ultra fantastic melodrama, an ambitious production in which there is much to marvel at in the scenic effects. It has been produced with a sort of mechanical precision, and the story reminds one somewhat of a writer who always seeks for alliterative combinations. The narrative could have been fashioned in a more subtle manner and would then have been more interesting to the few. As it stands it will strike popular fancy, and the stage settnigs willappeal to everybody.

In this presentation one perceives an effect of the interior of the Paris Opera, with people peering from the boxes and flocks of faces in the orchestra seats. There is the giant curtain which swings to with a graceful sweep, and a decorative and glistening central chandelier. All this is pictured in color, some of it a trifle weak, but most of the scenes quite effective.

Another prismatic sequence is that dealing with a mask ball in the Paris Opera, where one beholds the uniforms of all colors, with touches of bright blues and glowing reds. There is the famous staircase, down which passes the Phantom, who, in a cheery moment for the gala event, has decided to appear in flowing crimson and a mask of a death's head. There are the affrighted figurantes who whisper and blanche at the thought that this stalking figure may be the awful Phantom who dwells in the subterranean cellars under the Temple of Music.

You see the bed once owned by Gaby de Lys, which resembles a boat swung from three pillars; then there is a coffin bed in which the Phantom is supposed to rest his weary limbs, and dozens of other interesting features which are flashed here and there on the screen.

Lon Chaney impersonates the Phantom. It is a rôle suited to his liking, and one which he handles with a certain skill, a little exaggerated at times, but none the less compelling. One has to remember that this is a fantastic tale and therefore strange things can happen; and they do.

The idea is an excellent one, but the changes in the picture, and re-cutting it, have made some of the scenes abrupt. There is the Chief of the Secret Police, whose rôle has been throttled, as he obviously ought to play a far more important part in the story than he does. And there is throughout this film a decided uncertainty concerning France and her people. Norman Kerry figures as the hero. Raoul de Chagny, and never for an instant does he impress one other than having stepped into a uniform that did not belong to him. His facial expressions are often annoying, especially in one supposedly dramatic sequence where he smiles at the heroine, ignoring the awful presence of the Phantom. In more than one stretch he is introduced leaning against a door or standing erect near a pillar.

Mary Philbin fills the rôle of Christine Daae, with whom, for some mysterious reason, the Phantom has fallen in love. This strange person who is so much feared, is thought to be frightful of face, so forbidding that the few who have seen him have fled in terror. He wears a mask. Christine knew less about him than any of the other girls in the opera, and when a "voice like an angel" taught her from the other side of a wall how to sing, she never suspected that her benefactor and the Phantom were one.

Carlotta, the prima donna of the Opéra, is warned that she must not sing Marguerite in "Faust" on a certain night or there will be dire disaster. The new management of the Opéra decide to permit Christine to sing the part, seeing that the Phantom wished it, but in a later sequence Carlotta returns to her favorite rôle and the management takes possession of the box wherein the Phantom is supposed to sit. All goes well up to a certain point, when suddenly the singer's note is presumed to clash with the gigantic chandelier and it crashes from the ceiling upon the audience far below. This is quite an effective bit, although, as an accident, it seems to be forgotten much sooner than one would expect.

The Phantom, or Erik, as he pleases to call himself at times, has an inclined plane to his underground domicile and when he beguiles the dazed Christine to come below with him he puts her on a horse and she is taken down, down and down, where we are told there is the seepage of the Seine, which river incidentally is more than a mile away from the Opéra. The Phantom is just as much at home on the roof of the Opéra as he is below and in this picture people are permitted to wander at will through the building, and yet the police can't lay their hands on the hideous looking Phantom.

The most dramatic touch is where Christine in the cellar abode is listening to the masked Phantom—he wears a weird, childish-looking mask with plump cheeks—as he plays the organ. Then she steals up behind him, as he is apparently entranced with his own playing, and, after hesitating, suddenly snatches the mask from the Phantom's face and at once faints at the horrible ugliness of the man. In the theatre last night a woman behind us stifled a scream when this happened, as this is the first glimpse one has of the Phantom's physiognomy. He is hollow-eyed, with a turned-up nose which has long nostrils. His teeth are long and separated and his forehead is high. There is no doubt that he is a repellant sight.

Miss Philbin is only satisfactory in some of her scenes, and she ought to have been able to make many of them far more telling. Actually the outstanding performances in this production are delivered by Lon Chaney and Arthur Edmund Carewe, who is cast as the Persian, or the head of the secret police.

This is a well-dressed thriller, with a capable acting by the villain, a stiff and stilted hero and an insipid heroine. So far as the story is concerned, it looks as if too many cooks had rather spoiled the broth, which was served up in novel form by Gaston LeRoux.

Aside from the mere mention of Bret Harte's name in the usual film preamble, there isn't even the foggiest suggestion of that author's trenchant sketch, "Tennessee's Partner," in the photoplay, "The Golden Princess," which is now at the Rivoli. An old melodrama may be partly responsible for this free translation of the short story which dealt with two miners, one of whom was slung up summarily to a tree for highway robbery, while the other slipped away from this life through brooding over the execution of his pard. There is nothing about a tender heart beating under a rugged breast in the screen version, which is a trifling romance filled with unconvincing situations.

Villains as a rule in pictures are not noted for ordinary human attributes, but in this production Tom Romaine is a character whose unbridled fury causes him to act like a maniac. He attacks young Tennessee Hunter and with comparative ease hurls that young man from corner to corner, which ought to be enough to satisfy the ordinary scoundrel. But Tom Romaine also turns upon little Betty Kent and throws her to the floor. The director, Clarence Badger, was not content with this display, but has Romaine grab a pickaxe and wield it on the exhausted hero. Why he takes a pickaxe when one more blow would have been the end of Hunter is puzzling to the viewer, unless Mr. Badger wanted to have a maniac instead of the usual husky blackguard.

In this so-called screen version of Bret Harte's tale we have Bill Kent and his wife, Kate, arriving with their child at a point on the way to the gold fields. Kate wears voluminous skirts and a nice glossy satin bonnet. She is impressed by the appearance of the fastidiously dressed Romaine. It happens in the days of '49, and, therefore, Mr. Romaine is attired much like Beau Brummel, and in a very large beaver hat. It is not long before Kate elopes with Romaine, who, finding other work enervating, decides to be a highwayman.

Hunter encounters Bill Kent, before the latter was shot by Romaine, and he meets Bill's pretty little daughter, Betty. Fifteen years elapse and Hunter sends presents to Betty, who is living in a mission. He writes as if these gifts came from her father. Hunter discovers gold, and there are many ramifications and shocks as the narrative rumbles along. We see Betty and Hunter caught in a mine, and it seems as if they were having an unusually hard time. Then, as if she had been living just around the corner, Betty's mother is reintroduced. She is still the companion of Romaine, murderer and highwayman.

The scenario writer and the director have to plot to get rid of the mother, as a woman who had eloped with such an individual as Romaine could not be permitted to do more than live until the last reel. Hence there is a cave-in of the mine, and hurtling boulders cause erring Kate's death.

Betty Bronson figures as the heroine. There is nothing exceptional about her performance, it being an uninspiring rôle. The child Betty is played by Mary Schoene, who in her natural way, without knowing much about acting before the camera, is most pleasing to behold in her sorrowful and happy moments. Neil Hamilton impersonates Tennessee Hunter acceptably, and Rockliffe Fellowes handles the role of the villain. Mr. Fellowes is a thoroughly capable player, but the days of 1925 are better suited to his type than the days of '49.

Those who anticipate an evening with Bret Harte will be disappointed with this photodrama, and those who don't mind whether it is Bret Harte or Bill Hart will discover the story to be a jerky potpourri of eloping, murder, robbery, romance and silly fighting.

"Life's Greatest Thrills," a compilation of some news reel subjects of the last twelve years, is a much more entertaining feature than "The Golden Princess."

Other Films.

Norma Talmadge in "Graustark" is the chief attraction at the Capitol.

"The Gold Rush," with Charlie Chaplin, is at the Mark Strand.

At Warner's the principal offering is "The Wife Who Wasn't Wanted," with Irene Rich.

Gloria Swanson in "The Coast of Folly" has been transferred to the Rialto.

The Ufa production of "Siegfried" is at the Century Theatre.

Mae Murray in "The Merry Widow is the offering at the Embassy.

Greta Nissen in "The Wanderer" is at the Criterion Theatre.

David W. Griffith's production??? "Sally of the Sawdust," has been held over for a second week at the Cameo.

At the Colony the principal number on the program is "The Coming of Amos."

"The Scarlet West" is at the Broadway.

The feature at the Brooklyn Strand is "Winds of Chance."

THEATRICAL NOTES.

Tonight's premieres will be "Outside Looking In," at the Greenwich Village Theatre, and "Cradle Snatchers," at The Music Box.

The opening of "Mister Pie-Eye" at the National, announced for tonight, has been indefinitely postponed.

Noel Coward's forthcoming comedy, in which Laura Hope Crews will be seen, will be known as "Still Life" instead of "Hay Fever."

"Friend Wife," by Caesar Dunn, will be produced in Long Branch tonight by Eddie Dowling and Lawrence J. Anhalt. Donald Foster and Clara Moores will have the leading roles.

"Kosher Kitty Kelly" will end its engagement at the Times Square Theatre this week. It will go to Chicago.

Fred Stone will begin his third season in "Stepping Stones" tonight in Atlantic City.

Helen Hayes has been loaned by Charles L. Wagner to the Dramatists' Theatre, Inc., and will be seen in a play by James Forbes.

Wanda Lyon will appear with Lester Allen in "Under Your Hat," opening out of town Sept. 26.

Edna Best, the English actress, who will play the leading feminine role in "These Charming People," will arrive on the Majestic tomorrow.

The Hippodrome, opening for a new season, played to nearly 100,000 patrons last week. Annette Kellerman is announced for the week of Sept. 21.